the
Augusta Museum of History
and the
Morris Museum of Art
GEORGIA STUDIES
images and artifacts
study guide for the 3rd grade
Updated copies are available at the Morris Museum of Art web site:
www.themorris.org
Funding provided by a grant from the International Paper Company Foundation
January 2001
Georgia Studies
3rd Grade
Table of Contents
Letter to the Teacher
Themes, Images, and Artifacts
Introductory Questions
Vocabulary
Pre-visit Activities
Activity 1, Historical Timeline
Activity 2, My Family Tree
Worksheet 1: This Is the Andrews Family
Activity 3, Georgia’s Native American Communities
Worksheet 2: Georgia’s Native American Communities Crossword
Puzzle
Post-visit Activities
Activity 4, My Family Tree, Continued
Activity 5, Historical Timeline, Continued
Activity 6, Stepping into History
Worksheet 3: Stepping into History
Artists’ Biographies
Glossary of Art Terms
Glossary of History Terms
Bibliographies
Southern Art
Augusta History
List of Transparencies included in the Resource Packet
Tour Evaluation for Students
Packet Evaluation for Teachers
Resources (Available in your school’s media center)
Augusta Remembers (video)
Augusta: A Postcard History (book)
Walking the Log: Memories of a Southern Childhood (book)
The Dot Man: George Andrews (video)
The Dot Man: George Andrews of Madison, Georgia (book)
Envelope of 6 Transparencies “
Augusta Canal” (pamphlet)
Dear Teacher:
Georgia Studies: Images and Artifacts is a collaborative effort by the Morris
Museum of Art and the Augusta Museum of History to bring Georgia history to
life for schoolchildren in the Central Savannah River area through the
presentation and interpretation of images and artifacts in the two museums. The
program is correlated with state-established curriculum guidelines for Georgia
social studies.
The education departments of the museums have prepared this teaching packet
to enrich your Georgia Studies tour. We have included information that we hope
will make your tour go smoothly. Also, we have prepared interdisciplinary
activities and lesson plans. Please choose those activities that will fit your needs
and your time constraints. The better students are prepared before their visit, the
more meaningful the tour will be.
Goals for the Georgia Studies Program:
• To provide students with an interdisciplinary educational experience through
the use of images and artifacts in the two museums.
• To correlate the museum visits with school curricula and Georgia’s Quality
Core Curriculum standards.
• To make the experience relevant to the lives of the students.
Tour Overview:
You and your students will visit one museum for 45 minutes, have a 30-minute
break to travel between museums, and then visit the other museum for 45
minutes. Major focuses for the tour for 3rd grade students are the concept of
community and the importance of the Savannah River to this region.
Enjoy your visit to the Augusta Museum of History and the Morris Museum of Art!
If you have any questions, please contact either of us.
Sincerely,
Amy Gerhard
Director of Education
Augusta Museum of History
Phone: (706) 722-8454
Drew Brown
Associate Curator, Education Services
Morris Museum of Art
Phone: (706) 724-7501
Georgia Studies
3rd Grade
Themes, Images, and Artifacts
Themes, images, and artifacts that will be explored in Georgia Studies:
History of the local community in regard to the following areas:
The Savannah River
The River (painting by Ed Rice)
Petersburg boat
Stallings Island Indian diorama
Daily Life
The Ice Cream Man (painting by Margaret Ramsey)
St. Luke’s (painting by Nancy Hoehn)
spinning wheel/click reel/loom
Henry Holmes cotton gin
colonial cradle
antebellum kitchen
photo of cotton mill workers
Richmond Academy uniform
People
James Oglethorpe
George Walton
This Is the Andrews Family (painting by George Andrews)
Portrait of Western Berkeley Thomas and Emily Howard Thomas of
Augusta, Georgia (painting by George Cooke)
Lucy Craft Laney
Susan L. Still
* For more information about the artworks listed above, see artists’ biographies.
Georgia Studies
3rd Grade
Introductory Questions
Please review the following questions and answers with your students before
your visits to the Augusta Museum of History and the Morris Museum of Art.
They will provide a background for viewing the artifacts and art in each museum.
What and where is the “fall line?”
Just north of Augusta, the highlands of the Piedmont meet the lowlands of the
coastal plain at what is called the “fall line.” This “fall line” was the Atlantic
Ocean’s shoreline of early prehistoric times.
What happens to the Savannah River at the “fall line?”
At the “fall line” where the Piedmont meets the coastal plain, the river crosses
over a rock shelf. This seven-mile stretch of river is very rocky and shallow,
which makes it easy to walk across the river and difficult for a boat to cross this
area to go up or down the river.
Why did the Indians settle in Augusta?
The animals of the late Ice Age crossed the river here because the “fall line”
created several miles of rocky shallows. The Indians, or Native Americans,
followed the animals to obtain food and clothing. Because Augusta is a natural
crossroads, it became a gathering point for travel and trade and, therefore, an
ideal place to conduct business and live.
Why was Georgia founded?
In 1732 General James E. Oglethorpe received a charter from the British
Parliament to establish an English colony (Georgia) to protect Carolina from
Spanish Florida and French Louisiana and to offer poor but deserving
Englishmen a fresh start in the New World.
Why was Augusta established?
In 1736 General James E. Oglethorpe established Augusta to serve as a trading
post with the Indians and to serve as an inland fort to protect coastal Georgia.
How do artists divide a painting to show space?
They divide the artwork into foreground, middle ground, and background.
Georgia Studies
3rd Grade
Vocabulary
•
artifact
Any object made by human beings
•
background
The part of the painting or other image
that seems to be farthest from the
viewer.
•
colonist
An inhabitant of the thirteen British
colonies that became the United States
of America.
•
explorer
A person who investigates unknown
regions.
•
foreground
The part of a painting or other image
that seems to be closest to the viewer.
•
middleground
The part of a painting or other image
that seems to occupy the space
between the foreground and
background.
•
portrait
An artwork that represents a person’s
likeness.
•
timeline
A chronological sequence of events.
Georgia Studies
3rd Grade
Pre-visit Activities
A Note to the Teacher:
The two activities planned for students to do before their visits to the museums
integrate social studies, language arts, and visual art. Additionally, the activities
incorporate Howard Gardner’s Theory of Multiple Intelligences. After a short
description of each activity, you will find Quality Core Curriculum standards for
social studies. We have selected only the most obvious ones. You may find other
standards that are covered in the activities.
Activity 1: Historical Timeline. This brief activity allows students to work with a
timeline to enter personal information as well as historical events.
The relevant QCC standards in Social Studies are as follows.
Information Processing:
3.28 Arranges events, facts and ideas in sequence.
3.30 Illustrates data in a variety of graphic forms such as bar graph, circle graph,
pictograph, line graph, and timeline.
Time and Chronology:
3.51 Arranges in chronological order, a series of experiences; e.g., personal
timeline, family, timeline.
Activity 2: My Family Tree. This activity highlights family history and relates
family events to events that took place in the history of Georgia. Also, its various
components teach certain fact gathering skills, such as looking at artwork and
interviewing to obtain oral histories.
The relevant QCC standards in Social Studies are as follows:
Information Processing:
3.24 Gathers information through reading, listening, observing, and surveying.
3.27 Develops a class or small group list of questions and seeks answers from a
school or home population; conducts interviews.
Time and Chronology:
3.49 Relates the past to the present in the study of change and continuity in
human affairs.
Activity 3: Georgia’s Native American Communities. This activity discusses early
Native American life and the effect Hernando deSoto had on later Native
American communities. The corresponding crossword puzzle encourages
student comprehension of these ideas.
The relevant QCC standards in Social Studies are as follows:
Human, Environment Interaction:
3.13 Recognizes how human actions and physical environments affect one
another. Regions:
3.19 Identifies physical regions of Georgia (e.g., coastal plain, piedmont,
mountain). History:
3.22 Examines the cultures of the American Indian nations found in Georgia
including the Creeks and Cherokees and describes the interactions with the
settlers.
Activity 1
Historical Timeline
Focus:
This activity will help students become familiar with reading and constructing a
timeline. Also, they will relate important historical events to personal events.
Completing this short activity will make their museum trip more meaningful by
acquainting them with important events in Georgia history.
Objectives:
1. Students will arrange in chronological order important events in Georgia
history and family history.
2. Students will learn to construct and use a timeline.
3. Students will become aware of key events in Georgia history.
Materials:
The teacher should make copies of the timeline in this packet for the students.
Procedures:
1. Explain the concept of a timeline.
2. Briefly discuss the events shown on the timeline. Have the students look up
and enter the dates of the events.
3. Below the timeline, have students mark the dates for their birth year, the year
that one of their parents was born, and the year that one of their grandparents
was born.
4. Save the timeline to enter new dates after the museum visit.
Evaluation:
1. Did the students record the correct dates on the timeline?
GEORGIA TIMELINE
12,000 BCE–2000
12,00 BCE
1500
1700
1800
1900
Georgia
founded
World War I
Native Americans
living in Augusta Area
Civil War
World War II
Augusta
founded
Reconstruction
Revolutionary War
Civil Rights Movement
2000
Activity 2
My Family Tree
Focus:
The students, inspired by George Andrews’s This Is the Andrews Family, will create their
own family tree. Before the museum visit they will gather information about their families.
The video of George Andrews included in the resource packet is a good resource for this
project. Another resource is the book, The Dot Man: George Andrews of Madison,
Georgia, by J. Richard Gruber.
Objectives:
1. Students will collect information through interviews about their families to use in the
project.
2. Students will learn at the museum how George Andrews used both pictures and
words to describe the life of his family.
Materials needed:
Students will need only a pencil and a piece of paper. The teacher may use the
video of George Andrews available at the school media center or in the packet.
Also available at the media center is the book, The Dot Man: George Andrews of
Madison, Georgia.
Procedures:
1. Discuss with the class the concept of family history and a family tree.
2. Have the students generate as a class a list of appropriate questions and then
interview various members of their families. It would be ideal if each student could
interview at least three family members, representing three different generations. For
example, he or she could interview a sibling, a parent (or aunts and uncles), and a
grandparent. If no grandparent is available, suggest that he or she substitute an
older person he knows. Some suggested questions follow:
• What year were you born?
• How did people dress during your childhood?
• How did they wear their hair?
• How many people were in your immediate family (parents and siblings)?
• What was your favorite song from your childhood?
• What games did you play as a child?
3. Have the students save the interviews to continue the project after the museum visit.
4. Show the class a reproduction of George Andrews’s family tree (page 43 in The Dot
Man book). Explain that George told his family’s history with pictures instead of
words.
5. At the museum have them collect information they need to complete the following
worksheet.
Evaluation:
1. Did the students complete the family interviews of three generations?
2. Did the students satisfactorily complete the worksheet?
Student Worksheet
This Is the Andrews Family
3rd Grade
Description:
The first thing I see in this painting is __________________________________.
I see ______________ (how many) children. The man in the painting is wearing
____________. He is holding a _________________. The woman is holding a
________________. The animals that I see in the painting are
___________________________________________________. Other objects in
the painting are ______________________________________. The colors that
I see in this painting are _______________________________________. Some
of the shapes that I see are ____________________________________.
Interpretation:
This painting makes me feel ______________________. The things I learned
about the Andrews’s family while looking at this painting are ________________
________________________________________________________________.
Other things that I would like to know about the Andrews’s family are _________
________________________________________________________________.
Activity 3
Georgia’s Native American Communities
Focus:
Students will read the following passage about Native American communities
and the effect Spanish explorer Hernando de Soto had on those communities.
Then, utilizing the vocabulary learned from the passage, they will complete a
crossword puzzle.
Objectives:
1. Students will read a passage about Georgia’s early Native American
communities and explorers.
2. Students will complete a crossword puzzle.
3. Students will have a strong foundation of knowledge for the Native American
portion of their museum tour.
Materials needed:
Pencils, student copies of the “Georgia’s Native American Communities”
passage, crossword puzzle, and clues included in this packet. The map of the
Savannah River in the “Augusta Canal” pamphlet if a good supplementary
resource for this lesson. Bull Sluice marks the fall line above which crossing the
Savannah River is easy.
Procedures:
1. Read or allow the students to read the passage on communities.
2. Complete the crossword puzzle using the vocabulary found in the passage.
Evaluation:
1. Did the students complete the crossword puzzle correctly?
Crossword Puzzle Answers:
Across
5. spear
6. coastal Plain
7. tribe
9. atlatl
13. chiefdom
14. mastodon
15. bow and arrow
16. de Soto
Down
1. artifact
2. Savannah
3. Native Americans
4. pottery
8. fall line
10. Piedmont
11. Cherokee
12. community
Georgia’s Native American Communities
Native Americans settled in this area over 14,000 years ago. In prehistoric times
the Atlantic Ocean came all the way to where Augusta is today. Later, it moved
back. Above this ancient shoreline the Savannah River is shallow. This area is
called the Piedmont region. Indians settled here because animals and people
could cross this shallow area easily. Below this shallow area the river is deep.
This area is called the coastal plain. Where these two areas meet is called the
fall line.
These early people did not leave a written record of their history. One way
historians learn about people from a long time ago is to study the objects they
made. We call these objects artifacts.
One of the first groups of Native Americans to come to this area hunted large,
slow-moving animals, such as the mastodon. They hunted with large spears.
This is one of the artifacts you will see at the history museum.
Later Indians hunted smaller animals such as deer, turkey, duck, and rabbit. The
smaller animals were harder to hunt. The Native Americans invented a spear
thrower, called an atlatl (at-l-atle). You will see one of these at the museum, too.
These Indians also made pottery. They were the first people to make pottery in
what is now the southeastern United States. They decorated their pottery
because they wanted it to look pretty. Pottery is made from clay that is dug from
the earth, shaped, and then baked.
About 3,000 years ago Native Americans invented the bow and arrow. They also
learned to grow plants such as squash, sunflowers, and gourds. Now that they
did not have to move frequently to hunt all of their food, they were able to form
communities called tribes.
As Indians learned more about growing plants (agriculture), more tribes
developed, and they became larger. These communities were now called
“chiefdoms.” Chiefdoms often fought each other.
The Spanish explorer Hernando de Soto and his men landed at Tampa Bay,
Florida, in May 1539. The next year the group came to the present state of
Georgia. They reached the Savannah River on April 17, 1540. De Soto and his
men enslaved or killed many of the Native Americans. Many others died of
diseases brought by de Soto and his men. The Indians who lived through this
time formed the Indian tribes known today as the Cherokee, the Creek, and the
Chickasaw.
Crossword Puzzle Clues
Across
5.
6.
7.
9.
13.
14.
15.
16.
Indians used this to hunt
A plain running along the coast
Early community of Indians
A spear thrower
Later, larger community of Indians
A large, slow-moving animal hunted by Indians
Indians used these to hunt
A Spanish explorer
Down
Any object made by human beings
The river that separates Georgia from South Carolina
Earliest humans in North America
Clay that is dug from the earth, shaped, and then baked
An imaginary line marked by waterfalls and rapids where rivers descend
abruptly from an upland to a lowland
10. A plateau between the coastal plain and the Appalachian Mountains
11. The name of an Indian tribe
12. A group of people living together
1.
2.
3.
4.
8.
Georgia Studies
3rd Grade
Post-visit Activities
A Note to the Teacher:
The following activities are designed for after the students have visited the
museums, and they will help consolidate some of the information learned in this
unit. In addition, they will help assess what the students have learned.
Activity 4: My Family Tree, Continued asks students to respond to George
Andrews’s This is the Andrews Family by creating a visual family tree. They will
transpose verbal information acquired in their family interviews into visual
images.
The relevant QCC standards in Social Studies are as follows:
Information Processing:
3.24 Gathers information through reading, listening, observing, and surveying.
3.25 Uses standard print and non-print reference sources to locate information.
3.30 Illustrates data in a variety of graphic forms such as bar graph, circle graph,
pictograph, line graph, and timeline.
Activity 5: Historical Events is a continuation of the timeline begun before
visiting the museums. This activity will help students place historical events
studied at the Augusta Museum of History and the artwork observed at the Morris
Museum of Art in historical context. Also, they can integrate their family histories
into the larger picture.
The relevant QCC standards in Social Studies are as follows:
Information Processing:
3.24 Gathers information through reading, listening, observing, and
surveying.
3.25 Uses various print and non-print reference sources to locate information.
3.28 Arranges events, facts, and ideas in sequence.
3.30 Illustrates data in a variety of graphic forms such as bar graph, circle
graph, pictograph, line graph, and timeline.
3.49 Relates the past to the present in the study of change and continuity in
human affairs.
Activity 6: Stepping into History will help students internalize events and
artworks discussed when visiting the museums. The students will have to learn
the facts of the events in order to write their first person account. In addition, they
will identify with historical figures and events once they have placed themselves
at the scene.
The relevant QCC standards in Social Studies are as follows:
Communities:
3.23 Describes the local community in regard to origin, growth, and change
over time (history of local community).
Information Processing:
3.24 Gathers information through reading, listening, observing, and
surveying.
3.25 Uses various print and non-print reference sources to locate
information.
3.37 Chooses the appropriate resources from which to gather data.
Activity 4
My Family Tree, Continued
Focus:
In this activity students will use the information they have gathered from their
family interviews and create a visual family tree.
Objectives:
1. Students will understand that pictures as well as words can convey
information.
2. Students will create a visual description of their families by creating family
trees.
3. Students will discuss and defend which visual clues are important to include
in their family trees.
Materials needed:
Interviews with family members, white drawing paper, crayons or colored
markers
Procedures:
1. Review the painting This is the Andrews Family by George Andrews.
2. Ask students to think about ways they could depict their family members in
their family trees.
3. Have students use light colored crayons to draw basic compositions of their
families.
4. Ask students to add any objects that might give clues about the interests,
occupations, or personalities of family members.
5. Prompt students to include any writing that would enhance the composition.
Remind them that George Andrews used words in his painting.
6. Have students use bright, bold colors to complete their compositions.
Evaluation:
1. Other than the depiction of the family members, how did the students show
their interests and personalities (clothing, objects included in the drawing,
etc.)?
2. How do the included words become part of the composition?
3. Have students “read” their classmates’ drawings for information about their
families.
Activity 5
Historical Timeline, Continued
Focus:
This activity, a continuation of activity one, provides additional practice in using a
timeline and in sequencing. Also, it will help them process some of the
information they learned at the museum.
Objectives:
1. Students will arrange in chronological order important events in Georgia
history.
2. Students will learn to construct and use a timeline.
3. Students will become aware of key events in the history of the South and
especially of Georgia.
Materials:
Copies of the timeline first used in Activity 1; Activity 5 worksheet; “Augusta
Canal” pamphlet.
Procedures:
1. Remind students of the concept of a timeline.
2. Have students complete number one on the Activity 5 worksheet. Guide them
in using a variety of resources to find the answers. For example, the Augusta
Canal pamphlet in your resource packet will help them answer the first
question. Go over the worksheet to make sure their answers are correct.
3. Direct them to place these dates below the timeline.
4. Help them complete number three on the worksheet. These answers may be
found on the artist biographies in the study guide.
Evaluation:
1. Did the students record the correct dates on the timeline?
Student Worksheet
Activity 5
Historical Timeline, Continued
1. When did the following events happen?
•
The Augusta Canal was built in
.
•
Augusta was founded in
.
•
The Great Fire of Augusta happened in
.
•
Eli Whitney invented the cotton gin in
.
•
de Soto explored the Georgia territory in
.
•
The Civil War began in
•
Susan Still piloted a NASA shuttle in
.
•
The Revolutionary War began in
.
.
2. Find the correct place on the timeline to mark these events. Mark them below
the timeline.
3. Using the timeline, now see if you can locate the time periods of these
paintings. Mark them in the space above the timeline.
This Is the Andrews Family
The River
The Ice Cream Man
Activity 6
Stepping into History
Focus:
The students will use the information gained from both museums as well as
additional resource material to write a first person account of a historical event or
person. By choosing their own event, they will be able to learn about an area of
history that appeals to them. Also, this will help them connect emotionally with
history.
Objectives:
1. Students will choose from a list a historical event or person in history that
interests them.
2. Students will collect information about the historical event or person that they
have chosen.
3. Students will imagine what it was like to live during the time of this event or
person.
4. Students will write a first person account as if they lived at this time or as if
they were the person selected.
Materials needed:
Stepping into History Activity Sheet, pencils, paper, reference material (See
bibliography for suggestions.)
Procedures:
1. Discuss briefly the events and people on the Stepping into History Activity
Sheet. Guide the students to remember what they learned about them in the
museum.
2. Allow the students to select from the sheet the event or person they would
like to write about.
3. Have the students use reference materials to learn more about their subject.
4. Guide the students to imagine living during the time of the event or person
they picked. Prompt students to recall what occurred, how one felt, what
clothing one would have worn, the setting, etc. Remind students to use their
five senses to put themselves in the historical time and place of the event.
5. Have the students use the information from the museum visits and from the
reference material to write a first person account of the event or person they
have chosen.
Evaluation:
1. Did the students portray the time and people accurately?
2. What details did the students include to show that they understood the time
period and event?
Activity 6
Student Worksheet Stepping into History
Read the following list and try to connect them with what you saw and heard on
your visits to the museums. Choose one that interests you. Write about the one
you picked as if you were there.
I lived during the Great Fire of Augusta.
I am Susan Still, NASA pilot.
I am one of the Thomas children in the portrait.
I invented the cotton gin.
I am Bobby Jones, golfer and architect of the Augusta National golf course.
I am a Stallings Island Indian.
I am one of the children in Margaret Ramsey’s painting, The Ice Cream Man.
GEORGE ANDREWS (1911–1996)
This Is the Andrews Family (Andrews Family Tree)
1991
Oil on canvas
60 x 40 inches
1994.024
The Morris Museum of Art holds 19 works by George Andrews in its permanent
collection.
Artist Biographical Information: (1)
• Born in Plainview, Georgia; son of James Orr, a Scotch-Irish plantation
owner, and Jessie Rose Lee Wildcat Tennessee, an African-and NativeAmerican
• Received a third-grade education before entering into farm labor; George
continued his education informally, reading newspapers and magazines
• Married Viola Perryman at age 17; the couple had ten children, including
visual artist Benny Andrews and writer Raymond Andrews
• As a young man he used “bluing,” a cleaning powder compound, to paint
large images of biplanes on local barns; son Benny remembers his father
drawing in the dirt, commonly using nails as drawing tools
• Andrews’s family lived in a two-room wooden house near his mother’s house
and not far from James Orr’s cabin, 1935–1943; family moved to a nearby
farm to begin work as sharecroppers, 1943
• George and Viola separated in 1953; Viola moved to Atlanta with the
remaining children
• In the early 1950s, George obtained a job painting street signs for the city of
Madison; eventually contracted chemical poisoning from the lead-based paint;
after a severe and lengthy illness, he was no longer able to work; he was
offered, and accepted, living space in the city’s government housing project;
he lived in this home for the remainder of his life
• After his illness, he began to paint; he first painted rocks, decorating them
with brightly colored dots; he soon expanded his range to include porch
furniture and other items on his porch and around his yard; words and
phrases soon began to appear on his work
• During the mid-1980s, his son Benny began to provide him with fine arts
materials and encouraged his father to paint on canvas
• Although his art was known in Madison, it was not until the early 1990s that
his art was exhibited nationally through the efforts of his son Benny
• Was featured in a solo exhibition at the Morris Museum of Art, 1994
• Lived his entire life in the Madison, Georgia, area; never left the state of
Georgia
General Characteristics of the Artist’s Work:
• While initially known for his use of brightly colored dots and patterns on
objects, he eventually diversified his visual symbols to include words,
phrases, animals (pigs were a favorite motif), and more abstract patterns and
compositions
• Some of his work dealt with social issues, African-American themes, or his
own mixed-race heritage
• Dreams provided the inspiration for many of his paintings
• In 1989, Andrews initiated a long-term project devoted to painting the history
of the Andrews family; a series of portraits were painted of individual family
members as well as a family tree
On This Is the Andrews Family: (1)
• Considered by J. Richard Gruber to be the most ambitious painting in the
artist’s family project
• Painting was usually called “The Family Tree” by the artist
• Picture came to him in a dream
• In addition to painting the members of his immediate family, Andrews filled
the painting with his favorite subjects and visual motifs, including creeping
vines, flowering shrubs, bluebirds, and pigs; he also included the Andrews
cabin in Plainview
• Painting shows George’s occupation as a farmer through his overalls, mule,
and plow
Artist Quotation:
All this artwork. It be on my mind. I lay down after saying my prayers, I get
visions what to do. (1,p.24)
George commented on his increased public recognition:
Since people been seeing the rocks I paint in houses of folks all over
town, more and more people ask me about my work. I go down to the post
office to pick up my mail and they don’t call me “G” anymore. They call me
Mr. Andrews.
(1,p.16)
Sources:
1.
Gruber, J. Richard. The Dot Man: George Andrews of Madison, Georgia.
Augusta, Georgia: Morris Museum of Art, 1994.
GEORGE COOKE (1793–1849)
Portrait of Western Berkeley Thomas and Emily Howard Thomas of Augusta,
Georgia
1840
Oil on canvas
36 x 28 ½ inches
1997.014
Artist Biographical Information:
• Born in St. Mary's County, Maryland; showed an early talent for painting but
did not have enough money to pay the fee required to serve as an apprentice
to esteemed painter Rembrandt Peale; entered the mercantile trade where he
had several unsuccessful commercial ventures; financial reverses eventually
prompted a return to art
• Studied with Charles Bird King (2)
• Began copying portraits with such success that he began painting them from
life; by 1825, he wrote to his brother that in the past 28 months he had
completed 130 portraits, 40 of which were done in Richmond, Virginia; Cooke
had married the sister of James E. Heath, the state auditor of Virginia; many
of Cooke’s early sitters were connected by birth or by business to his wife’s
family (2)
• Traveled to Europe in August 1826 to broaden his skills in landscape and
history painting; he studied and copied artworks in Italy, France, and England;
returned to U.S. in 1831 (2)
• Upon his return to the U.S., Cooke established himself for a while in New
York; was very productive during this decade and showed considerable
versatility as an artist; executed a number of city views in the South:
George Cooke's views of Southern cities were engraved in the 1830s.
Included were Washington, D.C., and Charleston, South Carolina, as
well as two Virginia cities, Petersburg and Richmond. His view of
Tallulah Falls, Georgia ... executed sometime during the 1830s or
1840s, is representative of the style seen in his city views. These
landscapes are among Cooke's most attractive work and, as in the
views of Charleston and Tallulah Falls, demonstrate a sensitive
observation and rendering of both environment and atmospheric
conditions. (1, p.60)
• Through the efforts of friend and teacher Charles Bird King, Cooke received a
commission to paint the six American Indian chiefs who came to Washington
in 1837; his work was later reproduced in McKenney and Hall's The Indian
Tribes of North America (2)
• Worked as an itinerant portraitist during the 1840s in the South, traveling out
of Athens, Georgia, and New Orleans; much of his professional life was spent
traveling throughout the South, with frequent visits to Washington (2)
• Known to have been in Augusta, Georgia, by May 1840, when he painted a
portrait of Mrs. Henry Hartford Cumming and her daughter, Emily; moved to
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•
Athens, Georgia, by the fall of 1840; continued to travel to Augusta and other
major Georgia communities after his move to Athens, at least through 1842
(2)
In 1844–45, Alabama industrialist Daniel Pratt, Cooke’s chief patron,
established a studio and gallery in Prattville, Alabama, where Cooke
displayed his own work as well as that of other major American artists of the
nineteenth century (2)
Cooke’s paintings were exhibited at the National Academy of Design, the
Boston Athenaeum, the Pennsylvania Academy of Fine Arts, the American
Academy of Fine Arts, the Apollo Gallery, Charles Bird King’s gallery in
Washington, D.C., and in Richmond, Virginia (2)
Cooke was also a successful illustrator for Family Magazine and a writer for
The Southern Literary Messenger. (2)
Contracted Asiatic cholera in New Orleans and died there. He is buried in
Prattville. (2)
General Characteristics of the Artist’s Work:
• Cooke’s versatility as an artist is illustrated by his portraits, landscapes, and
city views
• Cooke closely observed and wrote about the techniques of the old masters of
Europe; he very much admired the works of Raphael and made careful
copies of Vatican works
• His work of 1835–40 demonstrated his studies of European art: high-keyed
palette; improved modeling and contouring of his sitters; enlarged eyes,
suggestive of Romantic portraiture; greater concentration on the details of
costume and setting; and greater suggestion of the sitter’s character (2)
About Portrait of Western Berkeley Thomas and Emily Howard Thomas of
Augusta, Georgia
• The children’s mother was Emmeline Few Thomas (1807–1882); the
children’s father was also named Western Berkeley Thomas (1799–1836);
the couple had two children, Emmeline (Emily) Howard Harvie Thomas and
Western Berkeley Thomas; the father died when his son was one year old;
according to the inscription on his tombstone, Thomas, a native of Kentucky,
had lived in Augusta for some years and was a member of the Richmond Bar
(3, 4)
• Western Berkeley (1835–1863) practiced law in Augusta; by 1860, he had
established a practice as attorney at law, with an office at 268 Broad Street; in
1861, Western joined the Confederate Army with the rank of first lieutenant,
but resigned his position one year later; died in 1863, perhaps of disease;
however, the inclusion of his name on the Greene Street monument
dedicated to the “Boys in Grey” from Augusta and Richmond County suggests
that his death may have been a consequence of the War (4)
• Emmeline (Emily) Howard Harvie Thomas (ca.1833–1912) married William
Chrystie (1823–1902) in 1855; Chrystie was the grandson of General William
Few, a Revolutionary War hero; the couple had five children; the couple
•
•
maintained a summer residence in New York and a winter residence in
Augusta; the family’s Augusta home was at 914 Milledge Road
The sister of the children’s father was Emily Tubman, the richest woman at
that time in Augusta; Emily and the children’s mother, Emmeline, ensured that
the children were properly educated after the father’s death; after Western’s
death, Emily purchased a memorial window in his memory at Augusta’s First
Christian Church. Of note, Tubman had financed the construction of First
Christian Church
A memorial window to Western can also be found at Augusta’s Church of the
Good Shepherd; this window was donated by Joseph Cumming, a friend of
Western Berkeley
Artist Quotation:
…art aspires to a higher attainment than the mere portraiture of
nature…[to] the poetry of form and color. (2, p.30)
Sources:
1. Bundy, David S., ed. Painting in the South: 1564–1980. Richmond, VA:
Virginia Museum of Fine Arts, 1983.
2. Keyes, Donald. George Cooke, 1793–1849. Athens, GA: Georgia Museum of
Art, University of Georgia, 1991.
3. Augusta Genealogical Society, comp. Summerville Cemetery, Augusta,
Georgia. Augusta, GA: Augusta Genealogical Society. 1990.
4. Moore, Victor. Let the Hills Hear Thy Voice: A History of the Church of the
Good Shepherd, Augusta, Georgia, 1869–1994. Spartanburg, SC: The
Reprint Company, Publishers, 1995.
Artist information sheet prepared by Sue Davis and Patricia Moore, 2000.
NANCY L. HOEHN (b. 1947)
St. Luke’s
Undated
Oil on canvas
18 x 20 inches
1990.026
Artist Biographical Information: (1)
• Born November 24, 1947, in Augusta, Georgia
• Studied fine art at University of South Carolina in Aiken and in Columbia from
1973 through 1977; instructors included Marge Andruk, Clay Hagwood, and
Phil Mullen
• Earned a Bachelor of Arts degree in nursing from the Medical College of
Georgia, 1983; began graduate studies in nursing at the University of South
Carolina (Columbia) in 1995
• Taught art at the September School, Boulder, Colorado (1979) and at the
Boulder Public Library, Colorado (1979)
• Has exhibited in Colorado (1979), Georgia (1975–present), Alabama (1988),
and Tennessee (1990)
• Works are held in the collections of the Gwinnett County Council of the Arts
(Atlanta, Georgia), Southeastern Newspapers Collection (Augusta, Georgia),
Milledgeville Museum (Milledgeville, Georgia), and the Morris Museum of Art
(Augusta, Georgia)
On St. Luke’s:
• St. Luke’s United Methodist Church is located at 309 Crawford Avenue in
Augusta, Georgia. The Art Factory, a local arts education organization, uses
part of the church building for classes and an adjacent house for its office.
• Based on a conversation with the artist, Keith Claussen, director of the Morris
Museum of Art, prepared the following statement:
Nancy says this old church located at 309 Crawford Ave. has always
appealed to her. Most of her paintings contain figures or organic matter of
some kind. She chose this United Methodist Church for the subject…. The
style of this painting is considered impressionistic. (2)
Sources:
1. Curriculum Vita for Nancy Hoehn. Artist’s file, Center for the Study of
Southern Painting, Morris Museum of Art, Augusta, GA.
2. Statement about St. Luke’s by L. Keith Claussen. Artist’s file, Center for the
Study of Southern Painting, Morris Museum of Art, Augusta, GA
Artist information sheet prepared by Patricia Moore, 2000. Sheet will be revised after interview
with artist.
MARGARET RAMSEY (1932–)
The Ice Cream Man
1982
Oil on canvas
24 x 30 inches
1990.023
Artist Biographical Information:
• Born in Dublin, Georgia (1); was the oldest of nine children; she was the first
member of her family to graduate from high school and was the valedictorian
of her class (2)
• Attended Dublin schools and nursing school in Columbia, South Carolina;
graduated as a registered nurse (R.N.) from Georgia Southwestern College,
Americus, Georgia; recently retired from the Medical College of Georgia
where she worked as an R.N. (1, 2)
• Began painting in 1978 after viewing and being inspired by an outdoor art
exhibit (1)
• Is a self-taught artist; also practices basket-weaving (2)
• Well-known locally as a storyteller, Ramsey published one of her stories,
“Watching Uncle Shocum Eat,” in Jump Up and Say, an anthology of
children’s stories published by Simon and Schuster (2)
• Active in Augusta, Georgia (1, 2)
General Characteristics of the Artist’s Work:
• Often paints memory paintings, using her art to tell stories of her youth and
small-town life (1)
• Sometimes writes narratives to accompany her paintings (1)
• Paints in vivid colors
About The Ice Cream Man:
• This painting depicts a scene from the artist’s childhood in Dublin, Georgia.
Ramsey lived across the street from this house. She had a young friend in the
house who died, and this is the story she tells of the day after the funeral.
Everyone came in their best clothes. The day became a family reunion and
took on the air of a festival. The children played outside, and then the ice
cream man came. (2)
• Ramsey provided a written narrative about this painting:
The Ice Cream Man materialized out of scenes I observed while sitting on
the front porch of my house at 308 East Mary Street in Dublin, Georgia.
One of my neighbors, Annie Mae Gillis, passed out on her job at the
sewing factory and died at age 39. She was a member of a large family
(mostly Country Folk) who came together on the day of her Funeral. It was
a beautiful sunny Sunday afternoon and there were many adults and
children on her porch, in front of her house, even spilling over into the
street. The Children were playing on their skateboards, riding bicycles,
wrestling, playing with their puppies and having fun.
The grown ups were shaking hands, laughing, talking and hugging each
other. The other neighbors were sitting on their porches watching the
scenery and some of them, especially the Children, no doubt wanted to
join the bereaved Family in their merriment. Then along came the Ice
Cream Man in his delightfully decorated truck. There were pictures of
colorful ice cream cones and Eskimo pies with popsicles adorning both
sides and the back of his truck. Musical Chimes filled the air like those of
an organ grinder. Many gathered around the Ice Cream man and his truck
to make their tasty purchases. A beautiful loving sight to be seen. (1)
Quotations:
My paintings depict life in rural Georgia, concentrating on the everyday
lives of its people and landscapes. Most of my work develops from stories
about work, play, church and the other activities of simple life in the South.
-Margaret Ramsey, undated (3)
Sources:
1. Pennington, Estill Curtis. A Southern Collection. Augusta, GA: Morris
Communications Corporation,1992.
2. Telephone conversation with Margaret Ramsey, conducted by Barbara
3. Goldberg in 1999.
Artist statement by Margaret Ramsey. Artist’s file, Center for the Study of
Southern Painting, Morris Museum of Art, Augusta, GA.
This information sheet was prepared by Barbara Goldberg and Patricia Moore, Morris Museum of
Art, 2000.
EDWARD RICE (1953–)
The River
1994
Oil on canvas
48 x 48
1994.015
The Morris Museum holds seven works by Edward Rice in its permanent
collection.
Artist Biographical information:
• Born in North Augusta, South Carolina; currently resides in Augusta, Georgia
• As a child studied drawing and painting with Edith Alexander in North
Augusta; later studied with Louise Mallard at the Gertrude Herbert Institute of
Art; enrolled at Augusta College, 1972–1974, where he studied with Eugenia
Comer, David Jones, and Freeman Schoolcraft
• During his youth he studied the Charleston architectural prints of Elizabeth
O’Neill Verner and sketched some of the same Charleston scenes from the
same vantage point as Verner did
• Studied privately with Freeman Schoolcraft beginning in 1974; Schoolcraft
provided Rice with a solid training in realism; Cora Schoolcraft, artist and wife
of Freeman Schoolcraft, also mentored the young Rice
• Married Faye Schoolcraft, Freeman’s daughter, in 1975; the couple divorced
in 1982
• Has undertaken study trips to New York, Washington, D.C., and Europe,
beginning in 1976
• Served as Director and Artist-in-Residence at the Gertrude Herbert Institute of
Art, 1979–1982
• Moved studio to 142 Eighth Street, Augusta, 1982; relocated studio to 142
Eighth Street, 1983
• Was influenced by the work of English painter Lucien Freud, whose work he
first saw in England in 1986
• Established studio at 502 Lucerne Avenue, North Augusta; renovated studio
in 1996, a former jail and later residence of the artist’s grandmother
• Received many awards and has been included in national exhibitions
• Represented in numerous private, corporate, and museum collections
throughout the country
General Characteristics of the Artist’s Work:
• His subjects reflect an interest in place, particularly in the order imposed on
nature by man
• Prefers oil on canvas as his medium
• Works outside with nature as long as the light and foliage remain the same
• The scale, the shape, and perspective of his paintings are fundamental to his
•
•
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•
•
•
•
style
Often uses photographs extensively to develop his paintings (see quotation
below)
His style is similar to formalism; formalism is a style where the elements and
principles of design are precisely planned out and orderly
Usually paints on a 4x4 foot canvas because he feels that the square is the
only neutral shape
Interested in the Palladian and Vitruvian aspect of the square; a sense of
order is essential to both Palladian and Vitruvian architecture; Palladio was a
16th century Italian architect who felt that architecture must be governed by
reason and certain universal rules; Vitruvius was a Roman architect who lived
during the first century BCE; his writings and definitions of classical
architecture set the standard for architecture for many centuries
In addition to the artist’s interest in architecture, he produced works which
focus on landscape and the human figure
According to Lynn Robertson Myers, the Director of the McKissick Museum in
Columbia, South Carolina, Rice “employs a naturalism that is on one hand as
accurate and cool as that of a photo-realist but which can also be transformed
by a sense of personal involvement and nostalgia.”(1, p. 1)
Feels that it is more important to communicate something rather than just
painting for the sake of painting
On The River:
• Depicts a view of the Savannah River from the Georgia shoreline
• Rice was inspired to create this painting as he walked along the canal road on
a day when the water appeared to be vibrant blue in color (3)
• Rice overpainted several layers of the canvas to achieve the blues and golds
(3)
• 100 posters were printed of this work by the state museum using a digital
reproduction process (3)
• Rice painted two other versions of The River, one is 30” x 30” and the other is
14” x 14”; both works are held in private collections (3)
Artist Quotation:
First I do a quick sketch of the idea, and then I make approximately 100
photographs. …From the photographs I work as a draftsman so I have a
geometrically constructed drawing on the canvas. Then I go back to the
spot and work there for as long as the light and foliage are the same. I
take numerous photographs of details, tree limbs and doorknobs, etc., so I
can go back to the studio and work until the season, the light and the
foliage are the same again.
- Ed Rice, 1987 (1, p. 1)
Sources:
1. Robertson Myers, Lynn. Edward Rice: Paintings and Drawings: May 7–June
14, 1987. Columbia, SC: McKissick Museum, University of South Carolina,
1987.
2. Houston, David, et. al. Edward Rice: Architectural Works, 1978–1998.
Augusta, GA: Gertrude Herbert Institute of Art, 1998.
3. Conversation with the artist by Harriet Dolin, 1999
Artist information sheet prepared by Harriet Dolin and Patricia Moore, 2000.
Georgia Studies
3rd Grade
Glossary of Art Terms
• atmospheric perspective The representation of space in a drawing or painting
by making objects appear distant by blurring
outlines, by showing less detail, and by making
colors lighter and cooler.
• background
The part of the painting or other image that seems to
be farthest from the viewer.
• balance
The arrangement of the sensory properties (line,
shape, color, space, texture, and pattern) so that
there appears to be visual equilibrium. The balance
may be symmetrical (the same on both sides) or
asymmetrical (different on each side, but in
equilibrium). Another word for symmetrical balance
is formal; another word for asymmetrical balance is
informal.
The area in the artwork to which all movement is
• center of interest
directed.
• complementary colors
Pairs of colors that are opposite each other on the
color wheel: red/green, blue/orange, purple/yellow.
Complementary colors intensify each other when
paired, but neutralize each other when mixed.
• composition
How elements are positioned in relation to each
other within a work of art.
• contrast
Great difference between things: light/dark,
smooth/rough, thick/thin, etc.
• cool colors
Colors that remind people of cool things: blues,
greens, purples.
• foreground
The part of a painting or other image that seems to
be closest to the viewer.
• landscape
A work of art that shows the features of the natural
environment such as trees, mountains, or rivers.
•
A continuous, slender mark made on a surface; a
line
real or suggested line or path joining the elements in
a composition.
• linear perspective
A system of drawing or painting that gives the
illusion of depth. All horizontal lines that are parallel
in nature converge on the horizon line at one or
more vanishing points.
• middle ground
The part of a painting or other image that seems to
occupy the space between the foreground and
background.
• movement
The arrangement of the elements of an artwork so
that a sense of motion is created and the eye
moves through the artwork.
• negative space
• pattern
• portrait
• primary colors
• repetition
• secondary colors
• shape
• space
• still life
• texture
• unity
• value
• warm colors
Area in an image or sculpture that is not taken up
by any forms, but surrounds forms and fills in the
“gaps” of the composition.
Lines, colors, or shapes repeated over and over in
a planned way.
An artwork that represents a person’s likeness.
Red, blue, yellow; all other colors can be mixed
from these, but you cannot mix colors to make
these three.
Elements that appear over and over in an artwork.
This often creates a sense of movement or
rhythm.
Orange, green, and purple; each of these colors is
made by mixing two primary colors together.
An enclosed, two-dimensional space. Shapes may
be geometric (squares, circles, rectangles,
triangles, etc.) or natural with curving or irregular
outlines.
The illusion of depth created by an artist in a two
dimensional artwork. Space may also be open
areas in an artwork.
An artwork of inanimate objects (usually arranged)
such as vases, bottles, fruits, or flowers.
The feel of a surface, either real or simulated, as
when an artist makes an object in a painting look
shiny.
The formal property in a work of art in which the
sensory properties are arranged into a harmonious
whole.
The lightness or darkness or a color.
Colors that remind people of warm things: red,
yellow, or orange.
• architecture
• artifact
• boll weevil
• British Parliament
• charter
• colonist
• ethnic group
• explorer
• fall line
• immigrant
• Piedmont region
• coastal plain
• Reconstruction
• revolution
• rural
• timeline
• urban
Georgia Studies
3rd Grade
Glossary of History Terms
The profession of designing buildings, open
areas, communities, and other artificial
construction usually with some regard to
aesthetic effect.
Any object made by human beings
A snout beetle that attacks the bolls or flowers
of cotton, destroying the plant.
The legislature of Great Britain, consisting of
the House of Lords and the House of
Commons.
A document, issued by a sovereign or state,
outlining the conditions under which a colony is
organized.
An inhabitant of the thirteen British colonies
that became the United States of America.
Persons sharing a common and distinctive
culture, religion, and/or language.
A person who investigates unknown regions.
An imaginary line, marked by waterfalls and
rapids, where rivers descend abruptly from an
upland to a lowland.
A person who migrates to another country,
usually for permanent residence.
A plateau between the coastal plain and the
Appalachian Mountains.
A plain running along the coast.
The period of time from 1865–1877 providing
for the reorganization of the former
Confederate states back into the union.
An overthrow, a thorough replacement of an
established government or political systems by
the people governed.
Characteristic of the country life; rustic.
A chronological schedule of events.
Pertaining to the city.
Southern Art A
Basic Bibliography
Bivins, John & Alexander, Forsyth. The Regional Arts of the Early South: A
Sampling from the Collection of the Museum of Early Southern
Decorative Arts. Winston-Salem, NC: Museum of Early Southern
Decorative Arts, 1991.
Bundy, David S., ed. Painting in the South: 1564–1980. Richmond, VA: Virginia
Museum of Fine Arts, 1983.
Chambers, Bruce. Art and Artists of the South: The Robert P. Coggins
Collection. Columbia, SC: University of South Carolina Press, 1984.
Delehanty, Randolph. Art in the American South: Works from the Ogden
Collection. Baton Rouge, LA: Louisiana State University Press, 1996.
Dugan, Ellen, ed. Picturing the South: 1860 to the Present:
Photographers and Writers. Atlanta, GA: High Museum of Art,
1996.
Gerdts, William H. Art Across America: Two Centuries of Regional Painting,
1710–1920. New York: Abbeville Press, 1990.
Grootkerk, P. Art Across the American South 1733–1989: Selections from the
Roger Houston Ogden Collection. Lafayette, LA: University Art
Museum/University of Southwestern Louisiana, 1993.
Kelly, James C. The South on Paper: Line, Color and Light. Spartanburg SC:
Robert M. Hicklin, Jr., Inc., 1985.
Pennington, Estill C. Echoes and Late Shadows: The Larger World of
Southern Impressionism. Augusta, GA: Morris Museum of Art, 1996.
-----. Light of Touch: Select Works on Paper from the Permanent Collection of
the Morris Museum of Art. Augusta, GA: Morris Museum of Art, 1993.
-----. A Southern Collection. Augusta, GA: Morris Communications Corp., 1992.
-----. Antiquarian Pursuits: Southern Art from the Holdings of Robert M. Hicklin,
Jr. Spartanburg, SC: Robert M. Hicklin, Jr., Inc., 1992.
-----. Look Away: Reality and Sentiment in Southern art. Atlanta, GA: Peachtree
Publishers, 1989.
Pennington, Estill C. & Gruber, J. Richard. 5th Anniversary Celebrating Southern
Art. Augusta, GA: Morris Museum of Art, 1997.
Phagan, Patricia, ed. The American Scene and the South: Paintings and Works
on Paper, 1930–1946. Athens, GA: Georgia Museum of Art, 1996.
Poesch, Jessie J. The Art of the Old South: Painting, Sculpture, Architecture and
the Products of Craftsmen, 1560-1860. New York: Knopf, 1983.
Severens, Martha. Greenville County Museum of Art: The Southern Collection.
New York: Hudson Hills Press, in association with the Greenville County
Museum of Art, 1995.
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Bell, Earl L. and Crabbe, Kenneth C. The Augusta Chronicle: Indomitable Voice
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Bigbie, Alethia. The University of Georgia and Richmond Academy: Their
relationship from 1785–1985. R.L. Bryan Company, 1985.
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-----. General Sherman's Girlfriend and Other Myths of Augusta History.
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-----. Autobiography of a Colony: the First Half-Century of Augusta. University of
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Augusta Country Club, 1998.
Werner, Randolph D. Hegemony and Conflict: The Political Economy of a
Southern Region: Augusta, Georgia, 1870–1890.
Whatley, William L. A History of the Textile Development of Augusta, Georgia,
1865–1883. Master’s Thesis. University of South Carolina, 1964.
White, Michael C. Columbia County: A Study of its Streams, Rivers and Historic
Water Mill Sites. Privately published 1998.
-----. Historic Milling in Richmond County, Georgia. Privately published, 1998.
-----. Down Rae's Creek: A Famous Stream at Augusta, Georgia's Fall Line Hills.
Howell Printing, 1996.
Whites, Lee Ann. The Civil War as a Crisis in Gender Augusta, Georgia, 1860–
1890. The University of Georgia, 1995.
Wood, W. Kirk, ed. A Northern Daughter and a Southern Wife: The Civil War
Reminiscences and Letters of Katharine H. Cumming. Richmond County
Historical Society, 1976.
Primary Sources:
Primary sources on Augusta history can be found in the permanent collections of
the Augusta Museum of History; the Augusta Public Library; the Augusta
Genealogical Society; Augusta-Richmond County Courthouse; Reese Library at
Augusta State University; Richmond County Historical Society Collections.
Compiled by the Augusta Museum of History, September 2000, Updated March 2001
Transparencies
1. George Cooke, Portrait of Western Berkeley Thomas and Emily Howard
Thomas, 1840, Oil on canvas, 36 x 28 ½ inches. Morris Museum of Art,
Augusta, Georgia.
2. Lamar Dodd, From this Earth, 1945, Oil on canvas, 24 x 39 ½ inches. Morris
Museum of Art, Augusta, Georgia.
3. Edward Rice, The River, 1994, Oil on canvas, 42 x 42 inches. Morris Museum
of Art, Augusta, Georgia.
4. Prehistoric Indian pottery fragments and projectile points used on spears.
Augusta Museum of History.
5. Quilt made by slaves in 1825 and pottery made by enslaved, AfricanAmerican potter Dave. Augusta Museum of History.
6. Horse-drawn, steam-operated fire engine from 1869. Augusta Museum of
History.
Georgia Studies
3rd Grade
Student Evaluation of Tours
Name of School__________________________________________
Date of Tour _________________
1. Did you find it helpful to see both museums in the same day?
2. What was your favorite part of the tour?
3. Which part of the tour did you like the least?
4. Would you like to come back to the museums again?
5. What did you learn that you didn’t know before the tours?
6. How could the museums make the tours more effective?
Please fax this completed form to either the Augusta Museum of History (706724-5192) or the Morris Museum of Art (706-724-7612). Thank you!
Georgia Studies
Packet Evaluation
Thank you for completing the Georgia Studies Tour! We would appreciate your
comments about the packet that you received with pre-and post-visit lesson
plans.
Please return this evaluation with the 3-ring binder within two weeks of your
Georgia Studies Tour. Thank you!
Please rate the following aspects of the packet from 1–5 with 5 being the
highest rating.
_____ Themes, Images, and Artifacts
_____ Introductory Questions
_____ Vocabulary
_____ Timeline
_____ Lesson plans
_____ Pre-visit Activities
_____ Post-visit Activities
_____ Artists’ Biographies
_____ Glossary of Art Terms
_____ Glossary of History Terms
_____ Bibliographies
What part of the packet was most useful?
What part of the packet was least useful?
What would you like to see added to the packet?
We would welcome any additional comments or suggestions.